The creation, design, execution, or production of a work of art or architecture
and its components, including all those responsible for the creation of
the work or items in the group, the dates of that activity, and the place
where the creation took place.

The
creator and date of creation are core. This category focuses on
the action or activity of creation, design, or manufacture. A work of
art or architecture may be the product of a number of processes, and the
creator responsible for each contribution should be recorded. Information
about creation is necessary to identify the work and to distinguish it
from other works. Knowing the creators and the date and place of creation
provides researchers with crucial understanding of the context and meaning
of the work.

Multiple
creators and dates
Multiple individuals may be responsible for the creation of a work, and
they may have played different roles. Include all pertinent creators.
It is important to distinguish the artist or architect primarily responsible
for designing or making the work. It is also important to identify those
who had secondary roles in making the work, such as master printers, technicians,
publishers, or architectural engineers. If two or more artists assumed
a joined identity to create a work , their assumed identity should be
recorded as creator (e.g., Beggarstaff Brothers). If a work is
the joint product of a firm, factory, studio, or company, such as Artimede,
the corporate body should be identified as the creator. If there
is are multiple dates or a range of dates associated with the creation,
indicate this.

Groups of works
For groups, it is important to list all artists who contributed to the
creation of the items in the group, and all dates associated with their
creation.

Uncertainty
Indicate uncertainty and ambiguity as necessary. Sources
may reflect disputes about the attribution or dates for a particular work.
When multiple suggestions have been made, the preferred attribution and
dates of creation should be the ones accepted by the repository of the
work. Other attributions or dates have scholarly interest, however, and
should be recorded also.

Unknown
creator or unknown dateValues for creator and date must be supplied, even when the information
is uncertain. In the CDWA, an unknown creator differs from an anonymous
creator. An anonymous creator refers to the situation where the oeuvre
and general time and place of activity of the artist have been established,
but his or her name is simply unknown (e.g., Master of the Aachen Madonna).
An unknown creator refers to a situation where the oeuvre or hand
of the artist is not established (e.g., unknown Florentine). When
the creator is unknown, include a designation of the culture or
geographic place that produced the work rather than a name (e.g., Florentine
or unknown Florentine). If the date of creation is unknown, an
estimated broad date may be supplied (e.g., 15th century or contemporary).

Sources
Information about the attribution of a work can be derived from a signature
or inscription on the object, from published or unpublished expert analysis
of the style, or from archival documents. Other information about creation
can be found in unpublished documents such as inventories, letters, bills
of sale, photo mounts, and repository records, or in published monographs,
catalogs, and journal articles. Note that a work may be marked with false
signatures or names other than the artist (e.g., the Five-colored Parakeet
scroll in the Museum of Fine Arts, Boston, bears the signature of
the emperor Hui Zong, but experts in the field attribute its creation
to an anonymous court academician).

Cataloging
rules
For the subcategories in this section, basic recommendations
and discussion are provided below. For a fuller, more prescriptive
set of cataloging rules for some of the subcategories, see
Chapter 2: Creator Information and Chapter 4: Stylistic
and Chronological Information in
Cataloging Cultural Objects (CCO), which deals with a
critical subset of the CDWA.

RELATED
CATEGORIES and ACCESS

The
subcategories of CREATOR - ROLE and CREATION - CREATION DATE are primary
access points. CREATOR - IDENTITY is a primary access point, as well as
categories linked to it in the authority, PERSON/CORPORATE BODY AUTHORITY
(in the following subcategories in the atuhority NAMES, BIRTH DATE, DEATH
DATE, NATIONALITY/CULTURE/RACE, LIFE ROLES). These and other subcategories
may be queried individually or in combination with other subcategories
in CREATION or in other categories.

4.1. Creator Description

DEFINITION

The
name, brief biographical information, and roles (if necessary) of the
named or anonymous individuals or corporate bodies responsible for the
design, production, manufacture, or alteration of the work, presented
in a syntax suitable for display to the end-user and including any necessary
indications of uncertainty, ambiguity, and nuance. If there is no known
creator, make a reference to the presumed culture or nationality of the
unknown creator.

Required:
It is required to record the preferred name of the individual, group of
individuals, or corporate body responsible for the creation, design, production,
manufacture, or alteration of the work. In order to identify the creator
unambiguously to the end user, it is recommended to also provide biographical
information about each person or group responsible for the creation of
the work.

Creators
may be named individuals and corporate bodies, or they can be anonymous
hands identified as individuals (e.g., Master of the Saint Bartholomew
Altar (Dutch, German, or Italian painter and illuminator, active 1480-1510)),
or generically by cultural (e.g., unknown Dakota) or national designations
(e.g., unknown Benin). Include indications of nuance, uncertainty,
and ambiguity as necessary (e.g., probably by Gobelins (French craftsmen's
factory, established in 1662 in Paris, closed in 20th century)).

Form
and syntax
List information in the following order: Role or a reference to the process
(optional, as necessary for clarity; e.g., designer or designed
by), the preferred name in natural order, nationality, and birth and
death dates (or dates of activity).

Name
Take the name from an authoritative source. Record the most commonly used
name, which is not necessarily the fullest name (e.g., Francisco de
Goya, not Francisco José de Goya y Lucientes). Use a
pseudonym or nickname if that is the commonly preferred name (e.g., Masaccio,not Tommaso di Giovanni di Simone Guidi). Capitalize surnames,
initials, forenames, and honorifics. Record the name for a studio, firm,
or other group of persons that created the work, if appropriate.

Choose
the name most commonly used in the language of the catalog record (English,
in the United States), if there is one. If there is no English version
of the name (as is usually the case for individuals), use the preferred
name in the vernacular language. For the DESCRIPTION, list the name in
natural order if possible, even if the source lists the name in inverted
form (inverted names are appropriate for indexing, but not for display).
Follow additional guidelines in the PERSON/CORPORATE BODY AUTHORITY.

Biographical information
After the name, it is recommended to include the nationality (or culture)
and birth and death dates (e.g., Venetian,
1676-1730); the creator's life role(s) may also be included
(e.g., Venetian
painter, 1676-1730). Avoid phrasing the information in a way
that could be confusing or ambiguous. Indicate any uncertainty regarding
nationality or dates of the creator. Indicate uncertain or ambiguous dates
by using qualifiers such as ca. (meaning "circa"), after,
before, or by referring to spans of decades or centuries rather than
to specific years (e.g., German printmaker, 15th century or French
or Flemish painter, active ca. 1450-ca. 1495). If life dates
are unknown, list estimated life dates or dates of activity (e.g., French
draftsman, active ca. 1220-1240). Include the place of activity
(e.g., active in Italy) if nationality is unknown or when the locus
of activity is different from the artist's nationality or otherwise pertinent.
For an anonymous creator or other creator with incomplete biographical
information, include the deduced nationality (or locus of activity) and
approximate dates of life or activity.

Multiple
creators
If multiple creators were involved in the creation of the work or group
of works, record all of them if possible. If there are too many to record
them all, record the most important or most prominent creators. If the
role of the creator could be unclear or ambiguous to the user - as when
the creators contributed differently to the creation of the work - clearly
explain roles and extent (e.g., potter was Euphronios (Attic, active
ca. 520-ca. 470 BCE), painting attributed to Onesimos (Attic, active ca.
500-ca. 475 BCE)).

The
creation of a work of art or architecture can be a complex process. If
appropriate, record individuals and corporate bodies even if they are
not artists per se. These include all persons or groups of persons who
contributed to the production, manufacture, or alteration of the work.
For example, the patron of ancient architecture should often be included
because it is likely that he contributed directly or indirectly to the
design of a work he commissioned. Important publishers of European prints,
calligraphers of Chinese paintings, and other non-artists should be included.
A work may be the result of a series of activities, each of which was
the responsibility of a separate individual or group, as for example,
with a print for which a draftsman, etcher, and publisher
are known (e.g., designed by D. A. Alexander (British, 19th century),
engraved and published by William Daniell (British, 1769-1837)). Furthermore,
a work may have been altered repeatedly during its history, as with an
African mask that is ritually repainted, or a work of architecture that
is created over a long period of time with designs by multiple architects.

Anonymous creators
For anonymous creators, record an appellation and biography that have
been established by scholarly research. In the context of the CDWA, an
"anonymous creator" is defined as a creator whose hand is identified
and oeuvre is established, but whose name is not known (e.g., Master
of the Dido Panels). This type of creator is distinguished from unknown
creators, discussed below.

Unknown creators
If the identity of a hand and its oeuvre are not established, devise a
generic identification to refer to the unknown creator. Unknown creators
are common, especially in certain disciplines, including ancient art,
Asian art, African art, aboriginal art, folk art, decorative arts, and
Western art dating from the sixteenth century and earlier. Do not leave
the Creator element blank. If the creator is unknown and the identity
of his or her hand is not established, devise a generic identification
with which all unattributed works by unknown creators with similar attributes
may be associated (e.g., unknown or unknown Italian or
unknown Italian 16th-century). Ideally, these appellations should
be stored in the PERSON/CORPORATE BODY AUTHORITY.

Including
the role

Including the life roles of the creator is optional (life roles are
the most important professional roles that the creator held during his lifetime).
However, you should clarify the specific role of the creator regarding the work
if it will not be immediately apparent to the end user (e.g., architect:
Willoughby J. Edbrooke (American, 1843-1896); draftsman: Chauncey G. Graham
(American, active 1890s).

Including extent or qualifier
Record the extent, that is the part of a work contributed by a
particular creator, if necessary for clarity (e.g., design, execution,
predella, main panel, figures) (e.g., Marco
Ricci (Venetian painter, 1676-1730), figures by Sebastiano Ricci (Venetian
painter, 1659-1734)). Record an attribution qualifer when
the attribution is uncertain, is in dispute, or when there is a former
attribution; clarify the attribution with a qualifier using the terminology
as defined in QUALIFIER below (e.g., attributed to, after, probably
by, school of) (e.g., attributed
to Kicking Bear (Native American chief and painter, ca. 1846-1904)).

TERMINOLOGY/FORMAT

Free text: This is not a controlled field; however, the
use of consistent names and biographical information is strongly recommended.
It is required to index the creator in the CREATOR - IDENTITY and other
subcategories described below.

RELATED
CATEGORIES and ACCESS

Index the creator and role; index extent and qualifier as necessary. Given
that creator is a primary access point, you must index it in the CREATOR
- IDENTITY subcategory, which in turn should ideally be linked to the
PERSON/CORPORATE BODY AUTHORITY. The information provided in this subcategory
may be uncertain or open to various interpretations; when the authorship
of a work is in dispute, all plausible attributions should be indexed
for retrieval, even if they are not all displayed in DESCRIPTION.

Creator
information should be accessible in combination with the authority information
to allow queries such as "find all works that are portraits on panel
painted by Holbein in England" or "all Inuit carvings made in
the nineteenth century and now located in Seattle, Washington."

It is optional to index EXTENT (although it is required to
state the extent in the DESCRIPTION subcategory, when pertinent).
When more than one artist or architect contributed to the
creation of a single work, it is recommended to use EXTENT
to index the part each artist or architect played.

For
example, individual artists may be responsible for the design, decoration,
marquetry, bronze mounts (design, casting, gilding), and porcelain plaques
for a piece of furniture (e.g., for the late eighteenth-century Secrétaire
by Martin Carlin in the Getty Museum[1]).
A single painting may be the work of more than one artist, as when both
Marco and Sebastiano Ricci painted Landscape with Classical Ruins and
Figures[Figure
19]; Sebastiano was responsible for the figures and Marco for the
monuments and landscape.[2] One architect
may be responsible for designing the body of a basilica, while another
architect designed the dome many years later. Note
that scholars may have differing opinions about which artists executed
which portions of a work of art, as is the case with Herbert and Jan van
Eyck's collaboration on the Ghent altarpiece. Uncertainty should
be noted in the CREATOR - DESCRIPTION or more fully explained in the DESCRIPTIVE
NOTE.

An
expression of the certainty with which a work can be attributed to a known
artist or group, used when the attribution is uncertain, is in dispute,
when there is more than one creator, when there is a former attribution,
or when the attribution otherwise requires explanation.

EXAMPLES

attributed to
assistant to
workshop of
studio of
atelier of
office of
pupil of
associate of
follower of
school of
circle of
copyist of
style of

DISCUSSION
and GUIDELINES

Optional: Record a term indicating attribution.
Use lower case.

It is optional, but recommended, to index the attribution
to a given creator when it has been noted in the DESCRIPTION.
There are several qualifiers that are traditionally used in
the discipline of art history, and each carries its own tradition
of usage in particular situations. Definitions can vary slightly
from institution to institution. Use the qualifiers below,
and others, if necessary. Apply them in compliance with the
way the particular attribution is expressed by the repository
and scholars, or according to the following definitions when
necessary:

No attribution qualifierUsing no attribution qualifier indicates that the repository and most
or all scholars believe that the attribution to the named artist is certain.
The same holds true for unknown artists who are identified by culture
or nationality (e.g., unknown Celtic); if there is no attribution
qualifier, the attribution to this culture is deemed secure.

Attributions to a known creator
Use one of the following qualifiers to express uncertainty when the attribution
of a work to a known creator or architect is in question or to note a
former attribution. The following may also be used for attributions to
unknown artists (e.g., attributed to unknown Celtic).

attributed to: Use to express minor to moderate uncertainty
regarding the attribution to a known artist, architect, or corporate
body, as when the work's provenance, style, or physical characteristics
strongly suggest a given creator, but the attribution cannot be validated
with absolute certainty (e.g.,
attributed to Frans Hals (Dutch painter, ca. 1581-1666)).

formerly attributed to: Use to refer to an attribution that
had been accepted in the past, but is no longer generally held to be
valid (e.g., formerly attributed to Yan Wengui (Chinese, active
ca. 970-1030)).

Unknown creators linked to a known creator
If the identity of a creator is unknown but he or she has worked closely
with a known creator on the work, use an attribution qualifier to associate
the work with the name of a known creator whose oeuvre is stylistically
similar or otherwise related to the work at hand. In such cases, link
to the known creator in the CREATOR - IDENTITY, but qualify the known
creator's name with one of the qualifiers as described below.

Note: Do not use these qualifiers when the name of the creator
of the object/work being cataloged is known or when an anonymous appellation
is used for its creator (i.e., anonymous creators are those whose
hand and oeuvre are known, but whose name alone is unknown, e.g.,
Master of the Caslav Panel). When named or anonymous creators (as
opposed to unknown creators) have relationships to other artists,
these relationships should be expressed in the PERSON/CORPORATE BODY AUTHORITY,
not here in the Object/Work record. For example, the Isaac Master worked
in the workshop of Giotto. This working relationship surrounding the workshop
should be recorded in the authority record for Giotto and the Isaac Master,
NOT in work records by these creators.

Working
directly with a known creator
Use one of the following qualifiers to indicate authorship by an unknown
individual working directly for the named master, probably under his
or her supervision. The distinction between workshop, studio, office,
and atelier typically depends upon the historical period
in question and the type of work being produced.

workshop of: Use for a work by an unknown artist or architect
working under a master's name, generally in a system of apprenticeship
common from ancient times through the mid-17th century (workshop
of Gislebertus).

studio of: Use for a work by an unknown artist working for
a named artist in a system common after the 16th century, when master
artists took on pupils who were learning to be artists rather than
apprentices who were learning a trade.

office of: Use for a work by an unknown architect working for
a named architect in the 18th century through the present, when the
group of people working for the architect calls itself an office
(e.g., office
of ChristopherWren).

atelier of: Use for a work by an unknown artist working for
a named studio that called itself an atelier, generally reserved
for those studios located in France, or in Britain after the 18th
century.

assistant to: Use for a work by an unknown artist or architect
working as an assistant to a named artist or architect whose staff
is relatively small in number and do not call themselves a studio
or an office. Also use for an assistant who worked in a studio or
office, but in a special, close relationship to the named artist or
architect.

pupil of: Use for a work by an unknown artist working under
a named artist, where the relationship is apparently close, probably
a student/teacher relationship; implies the unknown artist is probably
younger or less experienced than the named artist; synonymous with
student of.

associate of: Use for a work by an unknown artist working
with a named artist, where the relationship is between two peers rather
than between a student and teacher.

manufactory of: Use for a work by an unknown artist working
for a named manufactory or factory, which is typically larger than
a studio or workshop, and typically produces porcelain, tapestries,
furniture, and occasionally fine art.

Not
working directly with a known creator
Use one of the following qualifiers to refer to an unknown artist in
direct contact with the works of the named creator, and living at the
same time or shortly after him or her, though not actually working in
his or her studio:

follower of: Use for a work by an unknown artist or architect
whose style is strongly influenced by the named artist or architect,
and who is living at the same time as or shortly after the named artist,
but is not necessarily his or her pupil (e.g.,
follower of Hokusai).

circle of: Use for a work by an unknown artist who appears
to be associated with the named artist, he or she is living at the
same time as the named artist, and probably had some contact with
him or her, but not is necessarily his or her pupil.

school of: Use for a work by an artist or architect whose
style is influenced by the named artist or architect or by the associates
of the named artist, who is living at the same time or shortly after
the named artist, but is not known to be a pupil or direct follower
of the named artist (e.g., school
of Rembrandt).

Influenced
by a known creator
Use one of the following qualifiers to indicate an influence of (or
an outright copy of) the style of the named master, but with the connotation
that the named creator had little or nothing to do with the actual work
at hand. The unknown creator need not necessarily be a contemporary
of the named master (e.g., style of Raphael or copyist of Rodin):

style of: Use for a work by an unknown artist whose style
is strongly under the influence of the style of the named master (e.g.,
style
of Raphael).

after: Use for a work by an unknown artist who has created
a copy of a known work of the named artist.

copyist of: Use for a work by an unknown artist whose style
seems to be a deliberate copy of the style of the named artist, but
when the work at hand is not a direct copy of a known work by the
named artist (e.g.,
copyist of Rodin).

manner of: Use for a work by an unknown artist whose style
or elements of whose style are somewhat close to the style of the
named artist, but whose work does not seem to be a deliberate copy
of the named artist, and who generally lived in a period after the
named artist.

TERMINOLOGY/FORMAT

Controlled
list: Control this subcategory with a controlled list, using terminology
in the Examples above and others, as required.

RELATED
CATEGORIES and ACCESS

QUALIFIER
should not be used to record the contribution of a corporate creator whose
name happens to include such words as "Office of" (e.g., Office
of Public Buildings and Grounds). As mentioned above, QUALIFIER likewise
should not be used to record the relationship between an identified, named
artist and his workshop, office, or a stylistic "school." If
the creator is identified, but activities surrounding the creation of
the work also directly involved the office or workshop of another identified
artist, the office or workshop should be listed as a separate occurrence
of the CREATOR group of subcategories, with the nature of the activity
of the office or workshop recorded in ROLE. Examples would include a panel
painted by Andrea di Bartolo while in the workshop of his father, Bartolo
di Fredi, and a drawing made by John H. Howe while he was in the architectural
firm of Frank Lloyd Wright. Relationships between artists and workshops
that do not directly pertain to the work at hand would be recorded in
the PERSON/CORPORATE BODY AUTHORITY, rather than with information about
the art work. The concept of "school" in its stylistic sense should be
noted in STYLES/PERIODS/GROUPS/MOVEMENTS; school in its regional sense
should be recorded in CREATION - PLACE.

Syntax
of phrases describing qualified relationships may vary in the way they
are combined with the CREATION - CREATOR - IDENTITY, CREATION - CREATOR
- ROLE, and CREATION - CREATOR - EXTENT, particularly when this in turn
must be combined with statements for multiple creators. Furthermore, more
than one qualifier may be necessary to describe a relationship (e.g.,
attributed to pupil of Theophanes the Greek contains two qualifiers,
attributed to and pupil of). See comments under ACCESS for
CREATION - CREATOR.

4.1.3.
Creator Identity

DEFINITION

The
identity of any one individual or corporate body that played a role in
the creation of a work of art or architecture, ideally a link to the PERSON/CORPORATE
BODY AUTHORITY. For unknown artists, it is an expression indicating the
culture, nationality, or stylistic association of the creator, also ideally
linked to the PERSON/CORPORATE BODY AUTHORITY.

Required:
Record the name of the creator of the work. This subcategory indexes
the DESCRIPTION category; repeat it for every creator in the DESCRIPTION
for the work at hand.

Ideally,
this should be a link to the PERSON/CORPORATE BODY AUTHORITY, where a
full record containing the creator's variant names and biographical information
will be stored and available for retrieval. See the PERSON/CORPORATE BODY
AUTHORITY for guidelines in constructing personal names.

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the
PERSON/CORPORATE BODY AUTHORITY, which can be populated with
names from the ULAN, Canadiana Authorities, LC Name Authorities,
and Yale British Artists. Consult AACR for general guidelines
regarding the formatting of names.

RELATED
CATEGORIES and ACCESS

The characteristics of creators, particularly their names, dates, places
of activity, and national and cultural associations, are primary tools
that researchers use to locate corpora for further study, and they must
be accessible through the authority. That is, all subcategories recording
the artists' names and biographical information may be stored in an authority
file; CREATOR IDENTIFICATION. The subcategories that define the identity
of the creator are primary access points. Subcategories in the authority
should be accessible in combination with other subcategories that pertain
strictly to the work. A researcher may wish to identify all works of a
particular type created by a named artist, such as all monotypes by Degas
where the subject is dancers, or all works that are the product of a particular
culture during a particular time period, such as "all carvings dating
from 950 to 1000 CE where the creator is Mayan."

Corporate
bodies may have hierarchical administrative structures, and this may be
important for access and should be accommodated in the authority CREATOR
IDENTIFICATION. For example, works may be created by Feature Animation
, which is a part of Disney Studios, which in turn is part
of Walt Disney Company. Also, corporate bodies and other groups
of individuals may be related to single individuals, as a workshop or
architectural firm should be related to its members. Groups of individuals
or corporate bodies may be related (non-hierarchically) to other corporate
bodies; for example, the architectural firm Adler and Sullivan
succeeded Dankmar Adler and Company. Likewise, single individuals
may be related to other single individuals, as a master is related to
a student, or a father is related to a daughter. All such relationships
should be accommodated in the authority.

4.1.4. Creator Role

DEFINITION

The
role or activity performed by a creator or maker in the conception, design,
or production of a work.

Required:
Record a
term or terms referring to the role or activity performed by the creator
named
in IDENTITY in the conception, design, or production of the work
being cataloged. This subcategory is distinguished from Life Roles in
the PERSON/CORPORATE BODY AUTHOIRTY in that Life Roles include all of
the different roles that a creator may have performed over a lifetime.

Specificity
Distinguishing the specific role played by the artist or architect is
critical, particularly when multiple individuals or corporate bodies participated
in the creation of the work. Record the most specific role of the
creator, if known. The level of specificity may vary depending upon the
type of work. For example, the role of the artist who designed and executed
a sculpture may be simply sculptor, but a print may have been created
by multiple individuals whose specific roles are listed, including a designer,
engraver, and publisher. If a specific role is not known, use
a more general role. For example if you do not know that a creator performed
the specific role of menuisier (which is a type of joiner), list
a more general role, such as furniture worker. If even this more
general role is not known, use the most general role applicable,
such as artist.

Form and syntax
Record the singular form of the term for one creator; record a plural
term if more than one creator is represented by the name (e.g., photographers
for a group photographers). Record the term in lower case except where
the term includes a proper noun or is otherwise capitalized in the source
controlled vocabulary. Avoid abbreviations. Record terms in natural word
order, not inverted. Do not use punctuation, except hyphens, as required.

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the GENERIC CONCEPT
AUTHORITY, which can be populated with terminology from the
Agents facet of the AAT.

RELATED
CATEGORIES and ACCESS

The
ROLE of the creator in the work of art at hand is a primary access point.
ROLE allows the researcher to locate all instances when an artist acted
in one capacity as compared to another. For example, a researcher may
want to locate all works for which Rembrandt acted as etcher as distinct
from all instances when he was a painter.

4.1.5. Creator Statement

DEFINITION

Opinions
offered by the artist or creator of a work that interpret and provide
further information about the work of art and the process of its creation.

EXAMPLES

Studies after the Antique

Painted in Autumn, 1892, from Sentinel Meadow, facing the
Falls

Galle stated in a document from 1820 that he included the glass
bowl at the bottom of the chandelier for small gold fish, whose continuous
movement would be pleasing to the eye ("le mouvement continu récrée
l'oeil agréablement")[Figure
4]. [3]

"My video is not:
- Accompanied by a 'pink sludge' rock and roll soundtrack.
- Documentation of a conceptual performance in which I jump out of a
13th story window to test the laws of chance.
- Synthetic images created with rebuilt surplus World War I airplane
parts.
- Shot with two cameras attached under each armpit and one between my
legs.
- A group therapy encounter between the Neo-Nazi Anarchists and the
Bowery Satanists.
- An underground sex-opera starring all my beautiful friends.
- A presentation about the 3rd coming of the Punjab of Mysore to bless
his freebies in America.
- Product with future marketing potential." [4]

...[Kertész] described for a friend the shaping of this
particular composition: "The door to [Mondrian's] staircase was
always shut, but as I opened it in my mind's eye the two sights started
to present themselves as two halves of an interesting image that I thought
should be unified. I left the door open, but to get what I wanted I
had to move a sofa" [Figure
12]. [5]

DISCUSSION
and GUIDELINES

Optional: Record statements made about a work of art or
architecture by its creator that may provide insight into
the choice of materials and techniques used to create the
work, its subject matter, the evolution of style as represented
in the work, and the interpretive or emotional framework within
which the artist wishes the work to be viewed.

Form and syntax
The exact words of the artist should be recorded where possible.
Use rules for writing notes in the DESCRIPTIVE NOTE category.

Recording
the artist's statement ensures that the artist's voice is heard when his
or her work is studied. Artists' statements are often made in conjunction
with the exhibition of contemporary works of art. When and where a statement
was made, and the vehicle chosen to communicate it, will add importance
to or aid in the interpretation of an artist's statement.

TERMINOLOGY/FORMAT

Free
text: This is not a controlled field. If there is important information
in CREATOR - STATEMENT, such as date, materials, etc., index this information
in the pertinent controlled subcategory eleswhere in the record.

4.2. Creation Date

DEFINITION

A concise description of the date or range of dates associated with the
creation, design, production, presentation, performance, construction,
or alteration of the work or its components, presented in a syntax suitable
for display to the end-user and including any necessary indications of
uncertainty, ambiguity, and nuance.

Required:
Record a year, a span of years, or a phrase that describes the specific
or approximate date associated with the creation, design, production,
presentation, performance, construction, or alteration of the work or
its components. Include nuance and expressions of uncertainty, as necessary.

When the exact date of the creation of a work unknown or
uncertain, record an expression of approximate dates, whether
a period of a few years or a broad period. For example, the
display CREATION DATE created 1859/1862 expresses that
Eugéne Cavelier created the print View of Fountainbleau
Forest in the Mist[6] sometime during those years. Dates can be qualified with
terms like ca., about, before, or after (e.g.,
after 1611 or ca. 830 BCE).Expressions such
as late Mayan, Medieval, papacy of Leo X, first half 16th
century, or 5th-4th centuries BCE would describe
broader ranges of approximate dates.

Specificity
Record the date with the greatest level of specificity known, but expressed
in a way that conveys the correct level of uncertainty or ambiguity to
the end user (e.g., ca. 1820). See
also Uncertainty below.

Record
the year of completion, if known (it
is relatively rare that a work will be begun and completed in one sitting,
such as a painting en plein air). Dates
inscribed by artists on paintings or sculptures generally are the date
of completion.

Alternatively,
for works such as architecture that are created over a period of time,
record the span of time during which the work was constructed.

The date will be assumed to be the year of completion or
a span indicating the period of creation or construction.
If the date expressed is not the year of completion or a span
of time during which creation took place, or if the date may
otherwise may be ambiguous, explain it. For example, the dates
for Lorenzo Ghiberti's bronze doors for the Baptistery
in Florence may be expressed as the following: completed
1403-1424, after winning the design competition in 1401.[7]

Multiple
dates: When it is known that different activities in the creative
process took place at different times, indicate this. Indicate when
the date of design and production are separated by a period of time
(e.g., negative: 1875, print: 1904 or designed 1743, cast
1751). Explain when a work has been revised (e.g., for a sculpture:
1372, reworked 1377-1379). Indicate when a manuscript has been
illuminated during one period and bound in another [Figure
31]. Note that dates on prints are often the date when the plate
was completed (which is typically inscribed on the plate), not the date
when the print was pulled. Dates of a photographic negative and the
prints made from it can differ widely (e.g., negatives, such as those
of Ansel Adams, are often reprinted, expressed as the following: printed
in 1983 from a negative dating ca. 1960).

Performance
art and installations: Performance art or happenings may require
a date more specific than the year; they may have taken place on a specific
day and time of day. Ephemeral street art or installations, may have
a finite range of dates associated with their existence (e.g., installed
12 November 1978-31 January 1979).

Architecture:
Architecture
is typically created over a span of years and may include the date of
design and the span of time required for construction (e.g., designed
late 14th century, constructed 1410-1486). Indicate when architectural
structures have been created in multiple building campaigns during different
periods of time. Note that dates recorded in documents associated with
architecture could be either the date of the laying of the cornerstone
or the date the structure was dedicated.

Albums and groups: Albums of works may contain works
with multiple dates (e.g., for an album of drawings, drawings
date ca. 1550-1777, compiled 1789-1796, rebound with additions
1891).Groups of works commonly contain items created
over a period of time. For the group, record a) the inclusive,
b) the bulk dates, and/or c) the coverage dates. Inclusive
dates (also called span dates) are the years
of the earliest and latest dated works in the group (e.g.,
for a folder of drawings, 1911-1951 (inclusive dates)).
Bulk dates are the years representing the earliest
and latest dates for the most important or principal body
of items in the group. There may be multiple sets of bulk
dates for any group (e.g., 1914-1918 and 1939-1945 (bulk
dates)). Coverage dates are the date range for
the subjects contained in the archival materials, particularly
when the subjects do not correspond to the dates when the
group or series was created. For example, a series created
in the 1970s about the 1941 attack on Pearl Harbor would
have a coverage date of 1941 and inclusive dates of 1970-1979
(e.g., 1941 (coverage), 1970-1979 (inclusive dates)).
Indicate in CREATION DATE if the dates are inclusive, coverage,
or bulk dates (index it in QUALIFIER).

Form and syntax
If a specific date is known, record the year. If a span of dates is applicable
(as when a work was completed over several years), record the year beginning
the span, dash, and the year ending the span.

Use
natural word order. Do not capitalize words other than proper nouns or
period names. Avoid abbreviations, except with ca. (for "circa"),
the numbers in century or dynasty designations (e.g., 17th century),
and BCE and CE. Include all digits for both years in a span; for example,
with four-digit years, do not abbreviate the second year (e.g., record
1780-1795, NOT 1780-95).

Express
words and phrases in the language of the catalog record (English in the
United States), except in rare cases where no English-language equivalent
exists or where the foreign term is most commonly used (e.g., with the
name of a period). Use diacritics as required.

Calendar
Use the proleptic Gregorian calendar (the calendar produced by extending
the Gregorian calendar to dates preceding its official introduction).
If
dates are expressed according to systems other than the Gregorian calendar
(such as Julian, Napoleonic, or Islamic calendars), this fact should be
clearly designated (e.g., 1088 AH (1677 CE) notes the year in the
Islamic calendar with the year in the Gregorian calendar (Common Era)
in parentheses).[8]

BCE, CE, Before Present
Use BCE (Before Common Era) to indicate dates before the year 1
in the proleptic Gregorian calendar. For dates after the year 1, generally
do not include the designation CE (Current Era), except where confusion
may occur because a) the span of dates begins BCE and ends CE (e.g., 75
BCE-10 CE) or b) the date is within the first few centuries of the
Current Era. Do not use BC (Before Christ) or AD (Anno Domini).
For very ancient works, artifacts, and in certain other disciplines where
BCE is not appropriate (e.g.,
in Precolumbian studies), use the phrases years ago or before
present to reflect your source's indication of age relative to the
present rather than an absolute date. Do not abbreviate these designations
(e.g., do not use y.a. or B.P.).

UncertaintyIf the specific year or span is not known, use modifiers to record
dates with the greatest accuracy known (e.g., probably 1514 or
ca. 1735). In the guidelines below, the conventions are arranged from
greatest level of accuracy to the least; use the greatest possible level
of accuracy, based on the information at hand.

probably:
If there is doubt among scholars regarding the date of a work, indicate
this by using the word probably or a question mark.

or:
If the date of a work is known to be one particular year or another,
indicate this by using the word or (e.g., 1876 or 1886).

ca.:
If the precise date is unknown, preface the year with ca. (for
"circa") or about (e.g., ca. 830 BCE).If
ca. is used with a span of dates, repeat it as necessary to indicate
whether it applies to the beginning year, the ending year, or both years
of the span (e.g., ca. 1815-ca. 1825). Preface centuries or other
broad dates with ca. as needed (e.g., ca. early 1st century
CE).

about: For very ancient works, use the word about rather
than ca. (e.g., about <x> years ago or about
<x> years before present, etc.).

before, after: When an exact date is unknown, express dates
relative to a terminus ante quem or a terminus post quem
(meaning date before which and date after which), if appropriate,
using the words before or after (e.g., after 1611).

spans: When an exact date is unknown, record the span of years
during which the creation took place, if appropriate. Distinguish between
a) the span indicating that a precise date is unknown, but the work
was created at some point during the span (e.g., 1735/1745),
and b) the span that is known, during which the creation process took
place over a number of years, as with architecture (e.g., constructed
ca. 1435 - ca. 1560). When necessary to avoid ambiguity, clearly
describe the meaning of the date.

Dash vs. forward slash: A dash or forward slash may be used
in the following ways, provided it will be clear to the user what is
meant. Use the dash to indicate a span during which a work was made,
as when a building was constructed over several years (e.g., ca.
1435 - ca. 1560 means that construction took many years, from ca.
1435 to ca. 1560). Use the forward slash (meaning "between")
when a specific date is not known, to indicate a span that contains
some year or years when the work was made (e.g., for a bowl, the date
1735/1745 means the precise date is uncertain, but creation occurred
sometime between 1735 and 1745).

decades, centuries: When the exact date is unknown, indicate
the date to the nearest decade or century, when appropriate. Do not
use an apostrophe with decades (e.g., 1890s, NOT 1890's).
Qualify decades or centuries with early, mid-, and late,
as warranted.

period, era: If no more precise date is known, you may express
dates according to a named period, dynasty, or ruler's reign, if appropriate
(e.g., late East Gravettian). The periods may be divided into
early, middle, or late. EARLIEST and LATEST DATES for retrieval (discussed
below) should be based on dates applicable for that period, if no more
specific date for the work is known. In some cases, the period named
in CREATION DATE may be the same as the period recorded in STYLE or
CULTURE. If you include the years of the period or era in the display
CREATION DATE, put the years in parentheses, to distinguish them from
dates for the actual object (e.g., Ming (1368-1644) indicates
that the Ming dynasty existed between those dates); if you have a closer
approximation of date for the object, include that date instead (e.g.,
CREATION DATE = ca. 1610, instead of CREATION DATE = Ming
(1368-1644)),and record Ming as the STYLE.

contemporary: If no more precise date is known for a contemporary
work, other than that the artist is still or has recently been active,
for CREATION DATE record contemporary rather than 21st century.

no date: Do not use n.d. (for "no date"). Do
not leave the date fields blank. If a date is uncertain, determine a
possible date range based on available information, including the dates
of other art works, associated historical events, or the birth and death
dates of the artist (e.g., unless the work was completed after his or
her death, the death date of the artist would be the terminus ante
quem for the work he or she created).

TERMINOLOGY/FORMAT

Free-text: This is not a controlled field. Maintain consistent
capitalization, punctuation, and syntax where possible. Index the dates
in the controlled EARLIEST and LATEST DATE subcategories.

RELATED
CATEGORIES and ACCESS

The indexing fields, EARLIEST DATE and LATEST DATE, should
indicate the broadest span relevant for the free-text CREATION
DATE (e.g., for CREATION DATE = ca. 1820, EARLIEST
= 1815, LATEST = 1825; EARLIEST DATE and LATEST
DATEshould not be visible to the end user, but should be employed
only for retrieval). DATE QUALIFIER may be used to index which
for part of the work the CREATION DATE applies. For groups,
an indication of whether the dates represent bulk, coverage,
or inclusive dates may be indexed with the DATE QUALIFIER
subcategory.

Researchers
need to search for works created in a certain year, such as 1716;
they also need to search for all works created on any date within a range
of years, such as between 1550 and 1600. Ranges of dates implied
by descriptive phrases, such as 8th century, reign of George III,
or before 1273 BCE, must be accessible, i.e., through EARLIEST
and LATEST DATES.

4.2.1. Earliest Date

DEFINITION

The earliest possible date when the work of art or architecture was created.
For works that were created over a span of time, this is the year when
the work was designed or when execution was begun. For uncertain or approximate
dates, this is the earliest possible year when the work could have been
begun or designed.

EXAMPLES

1205
-0970
1600

DISCUSSION
and GUIDELINES

Required: Record the earliest year indicated by the display
CREATION DATE.

Form and syntax
Record years in the EARLIEST and LATEST DATES fields without
commas or other punctuation, except for the dash/hyphen, which
is used to express negative numbers for dates BCE. Use four
digits for most years. Dates BCE may require more than four
digits (e.g., -10000).

Always record years in the proleptic Gregorian calendar.
Note that EARLIEST and LATEST DATES record the estimated span
of time during which the creation of the work took place.For
individual works, EARLIEST DATE should be the earliest possible
year that creation of the work could have been begun. For
groups, it should be the earliest year in the span indicated
in CREATION - CREATION DATE.

End users do not see the EARLIEST and LATEST DATES, thus
you may estimate in these fields. Do not estimate the display
CREATION DATE except when you have warrant in authoritative
sources.

Estimating dates
For uncertain dates of creation, the EARLIEST and LATEST DATES
should be estimated broadly using available information about
the work or the artist. For example, you could estimate that
the earliest possible date for any work by a given artist
is eighteen or twenty years after the artist's birth.

Where
more specific dating information cannot be derived from the work itself
or the artist's life, conventions may be established to ensure consistency,
for example, a display date of ca. 1410 may be indexed by subtracting
five years for retrieval in EARLIEST DATE and adding five years for LATEST
DATE (i.e., EARLIEST DATE = 1405, LATEST DATE = 1415). The date first
half 16th century could be indexed with EARLIEST = 1500 and
LATEST = 1550. Dates represented as broad historical periods, such
as Medieval, could be indexed with years representing the broadest
span applicable for that period. If there is great uncertainty, an estimate
could be made to the nearest century or span of 100 years, indexing EARLIEST
DATE and LATEST DATE as the beginning and end of the 100-year span (e.g.,
15th century would be indexed as EARLIEST = 1400, LATEST
= 1499). For a CREATION  CREATION DATE that is a single year,
both EARLIEST DATE and LATEST DATE should be the same year (e.g., for
a painting created in 1674, EARLIEST = 1674, and LATEST
= 1674).

Tips for estimating datesIn
all cases, adapt or abandon the following recommendations to allow an
appropriately greater or lesser span if it is supported by more specific
available information.

single
year: Where a single exact year is known, record the same year in
both EARLIEST and LATEST DATES (e.g., CREATION DATE = 1967, EARLIEST
= 1967, LATEST = 1967).

or:
Where a date is one year or another, given that the two possible
dates will probably be very close to each other, record the two dates
as EARLIEST
and LATEST DATES (e.g., CREATION DATE = 1978 or 1981, EARLIEST
= 1978, LATEST = 1981). If extremely
accurate retrieval is required, EARLIEST
and LATEST DATEScould be repeated (e.g.,
CREATION DATE = 1978 or 1981; EARLIEST
= 1978, LATEST = 1978| EARLIEST = 1981, LATEST = 1981).
See also multiple dates below.

ca.:
For circa (ca.), for works produced within the last few centuries,
use a 10-year span for EARLIEST and LATEST DATES (e.g., subtract five
years from EARLIEST and add five years to LATEST to create a 10-year
span, thus CREATION DATE = ca. 1860 could be indexed EARLIEST
= 1855, LATEST = 1865). For ancient works, use a one-hundred
year span (e.g., CREATION DATE = ca. 1200 BCE could be indexed
EARLIEST = -1250, LATEST = -1150); alter this formula
as necessary as warranted by more specific available information.

before
and after: Estimate EARLIEST and LATEST DATES based on available
information; allow a ten-year span if nothing else is known (e.g., for
CREATION DATE = after 1743, EARLIEST = 1743, LATEST =
1753, or CREATION
DATE = before 1410, EARLIEST = 1400, LATEST = 1410,).

probably:
Index
with EARLIEST and LATEST DATES representing an appropriate span based
on available information, perhaps a year or two to either side of the
date (e.g., depending upon available information, CREATION DATE = probably
1937 may be indexed as EARLIEST = 1936, LATEST = 1938).

period,
era: If
the CREATION DATE refers to a period, era, or reign of a ruler, you
may use the beginning and end dates of the period, era, or reign as
EARLIEST
and LATEST DATES, if no closer approximation of dates can be
devised for the object itself (e.g., CREATION DATE = reign of Shah
Jahan (1628-1657), EARLIEST = 1628, LATEST = 1657).

contemporary:
If
the work is contemporary and no more precise date is known, estimate
an EARLIEST DATE based on the artist's estimated birth date plus 18
years, and use the current year as the LATEST DATE (e.g., CREATION DATE
= contemporary, EARLIEST = 1976, LATEST = 2005).

Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.

ISO 8601:2004 Representation of dates and times. International Organization
for Standardization. Data Elements and Interchange Formats. Information
Interchange. Representation of Dates and Times. Geneva, Switzerland:
International Organization for Standardization, 2004.

XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.

RELATED
CATEGORIES and ACCESS

The
dates that delimit the creation of the work are core for
retrieval; therefore, EARLIEST DATE and LATEST DATE are primary access
points that .should be accessible in combination with CREATOR and other
information about the work. Searches on dates may be for exact dates or
for ranges of dates.

4.2.2. Latest Date

DEFINITION

The
latest possible date when the work of art or architecture was created. For
works that were created over a span of time, this is the year when the work
was completed or when the structure was dedicated. For uncertain or approximate
dates, this is the latest possible year when the work could have been completed.

EXAMPLES

1215
-0952
1699

DISCUSSION
and GUIDELINES

Required: Record the earliest year indicated by the display
CREATION DATE.

Form and syntax
Record years in the EARLIEST and LATEST DATES fields without
commas or other punctuation, except for the dash/hyphen, which
is used to express negative numbers for dates BCE. Use four
digits for most years. Dates BCE may require more than four
digits (e.g., -10000).

Always record years in the proleptic Gregorian calendar.
Note that EARLIEST and LATEST DATES record the estimated span
of time during which the creation of the work took place.For
individual works, LATEST DATE should be the latest possible
year that creation of the work could have been completed.
For groups, it should be the latest year in the span indicated
in CREATION - CREATION DATE.

For
uncertain dates of creation, the LATEST DATE should be estimated broadly
using available information about the work or the artist. For example,
you could estimate that the latest possible date for any work by a given
artist is his death date.

For additional guidelines and tips for estimating LATEST DATE, see EARLIEST
DATE above.

TERMINOLOGY/FORMAT

Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.

ISO 8601:2004 Representation of dates and times. International Organization
for Standardization. Data Elements and Interchange Formats. Information
Interchange. Representation of Dates and Times. Geneva, Switzerland:
International Organization for Standardization, 2004.

XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.

RELATED
CATEGORIES and ACCESS

The
dates that delimit the creation of the work are core for
retrieval; therefore, EARLIEST DATE and LATEST DATE are primary access
points that .should be accessible in combination with CREATOR and other
information about the work. Searches on dates may be for exact dates or
for ranges of dates.

4.2.3. Date Qualifier

DEFINITION

A clarification of the meaning of the date, including an indication
that different creative activities took place on different dates.

Optional: Record a term or phrase indicating
which date is associated with which activity. Use lower case.

Use this subcategory when the span of time between different
creative activities is significant; use repeating sets of
EARLIEST and LATEST DATES to index the various activities.
Use qualifiers to label the various sets of dates (e.g., creation,
design, execution, alteration, restoration, addition).
The type of dates used for groups, bulk, coverage, or
inclusive, may be indexed with the DATE - QUALIFIER
subcategory.

TERMINOLOGY/FORMAT

Controlled list: Control this subcategory with a controlled
list, using terminology in the Examples above, and other terms as necessary.

4.3. Creation Place/Original Location

DEFINITION

The
location where the creation, design, or production of the work or its
components took place, or the original location of the work.

Optional: Record the location where the creation, design,
or production of the work or its components took place. Alternatively,
you may record the presumed original location of the work, when scholarly
evidence supports this presumption. The name will usually be a geographic
place, but you may include the name of a corporate body or building when
appropriate.

It
is important to record the geographic place where an object was created.
For architectural works, except in the rare situation when a building
has been moved, the original location is usually the same as the CURRENT
LOCATION and need not be repeated here. For groups, this categories records
the place of origination of the group; in addition, this subcategory may
record the place of creation of the items in the group.

Specificity
The location should be recorded to the most specific level known, preferably
the city or town of production. If the neighborhood (e.g., Montparnasse,
Bloomsbury, or Soho) or street address (as for houses, apartments,
studios, shops, or factories) is known, this may also be recorded.

Note
that a work may have been created in multiple locations: For example,
David's Death of Socrates was started in Rome and completed in
Paris. A ceramic vase may have been thrown and painted at Faenza, but
its lusterware glaze was added at Gubbio. A print may have been designed,
printed, and published in three different locations. Bronzes may have
been manufactured by a number of foundries or by a company that moved
several times.Index multiple locations when necessary.

Explain
such situations in the DESCRIPTIVE NOTE, and index all the probable places
in CREATION - PLACE/ORIGINAL LOCATION.

In
order to avoid anachronisms, record the historic name for the place that
refers to the period when the work was created, if possible. For example,
the tomb of Mausolus was created in the city of Halicarnassus,
Caria, Asia Minor, the site of which is now occupied by the town of Bodrum,
Turkey; a manuscript may have been illuminated in the Duchy of Saxony,
though that political entity no longer exists. To allow good retrieval,
such historic names should be cross-referenced to their modern counterparts
in the PLACE/LOCATION AUTHORITY.

Uncertainty
If
a specific location is unknown,
record a more general location. For example, it may be known only that
a work came from the Gandharan empire, which includes parts of
present-day India, Pakistan, and Afghanistan; you may index the creation
location as Gandharan empire. Alternatively,
index multiple places when more than one is possible: For
example, it may
be probable, though not certain, that a Dutch artist was living in France
when a canvas was painted [Figure
21]; both France and the Netherlands should be indexed as the creation
location. Explain
ambiguity and uncertainty regarding the creation location in the DESCRIPTIVE
NOTE, and index all the probable places in CREATION - PLACE/ORIGINAL LOCATION.

Form and Syntax
For detailed guidelines regarding the form and syntax of geographic
names, see the CURRENT LOCATION category and the PLACE/LOCATION
AUTHORITY.

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the
PLACE/LOCATION AUTHORITY, which can be populated with terminology
from the TGN, NGA (NIMA) and USGS, Canadiana Authorities,
LC Name Authorities and LCSH.

RELATED
CATEGORIES and ACCESS

Creation
location for the work is critical for retrieval, but it is often not known.
Therefore, geographic place information related to the CREATOR (recorded
in the PERSON/CORPORATE BODY AUTHORITY) is often substituted in queries.
Location information about the creator includes the geographic place that
is implicit in nationality or culture, and geographic places recorded
as the creator's loci of activity, birth place, and death place.

All
the names associated with a particular place, including historical names,
are important access points and should be stored in the PLACE/LOCATION
AUTHORITY. Searching on place names must be done at varying levels of
specificity, so hierarchical relationships between places must be accommodated.
For example, some researchers may look for works created in Italy, others
for works from the narrower region Emilia-Romagna, and others for the
specific city of Bologna. They may also search for place names that have
changed over time and vary from language to language.

There may be multiple places of execution, so repeating occurrences should
be accommodated. To allow researchers to find relationships
with the greatest degree of specificity, the CREATION - PLACE
would have to be associated with the appropriate CREATION
- CREATION DATE and CREATION - CREATOR - ROLE (each of which
also may repeat in multiple occurrences).

4.3.1. Place Qualifier

DEFINITION

A clarification of the significance of the place or location,
including an indication that different creative activities
took place at different locations.

EXAMPLES

design
execution
alterationpublication

DISCUSSION and GUIDELINES

Optional: Record a term or phrase indicating
which creative activity is associated with this place. Use
lower case.

Use this subcategory when different creative activities happened
at different places or in other situations where the place
or location requires qualification, for example to cite the
place of publication for prints.

TERMINOLOGY/FORMAT

Controlled list: Control this subcategory with
a controlled list, using terminology in the Examples above,
and other terms as necessary.

4.4. Object/Work Culture

DEFINITION

The
name of the culture, people, or nationality from which the work originated.

Optional: Record the name of the tribe, band, ethnic group,
linguistic group, cultural group, civilization, religious group, nation,
country, city-state, continent, or general region from which the work
originated, as indicated in authoritative sources.

Form and syntax
Capitalize terms for culture and nationality. Avoid abbreviations. Generally
use the adjectival form of a proper noun for a culture, region, nation,
or continent (e.g., Pre-Columbian, Celtic). In rare cases, when
there is no commonly used adjectival form for a term, use the noun form
(e.g., Asia Minor). Use terms in the language of the catalog record
(English in the United States), except in cases where no exact English-language
equivalent exists (e.g., Canaliño). Use diacritics as required.

For a group of items, include all the cultures represented in the group.
If there are too many to list them all, include the most important or
the most typical cultures evident in the group.

Uncertainty
When in doubt about which specific culture or nationality produced a work,
choose a broader concept of which you are certain (e.g., use the broader
Western Sudanese if it is uncertain if the culture is Dogon
or Bamana).

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the GENERIC CONCEPT
AUTHORITY, which can be populated with terminology from the
Styles and Periods facet of the AAT.

RELATED CATEGORIES and ACCESS

Given
that the culture that produced the work is nearly always the same as the
creator's culture, it will often be unnecessary to record the culture that
produced the work in the CULTURE subcategory, provided that there is a link
to the PERSON/CORPORATE BODY AUTHORITY where culture or nationality is recorded,
and provided that unknown artists (e.g., unknown Sioux) are recorded
in the authority and linked to the CREATION - CREATOR subecategory of the
object/work record.It is recommended to record unknown creators
in the CREATION - CREATOR subcategory. However, the local practice of some
institutions differs: In such cases, if the creator of the work is unknown
and the CREATOR subcategory is left empty, CULTURE would be required for
works produced by unknown creators.

Because a culture may have a recognizable style, the terminology used
in CREATION - CULTURE may also be recorded in the STYLE category.

4.5. Commissioner

DEFINITION

The
name of the individual, organization, association, or group that commissioned
the work from the creator.

Optional: Record the name of the individual, group, or
corporate body that commissioned the work.

Form and syntax
Follow rules for constructing names in the PERSON/CORPORATE
BODY AUTHORITY. Ideally, this should be a link to the PERSON/CORPORATE
BODY AUTHORITY, where a full record containing the creator's
variant names and biographical information will be stored
and available for retrieval.

In most cases, this subcategory will display the preferred name from
the authority. However, if
possible, display the name in use at the time of the commission. For example,
Giovanni de' Medici eventually became Pope Leo X; therefore, works commissioned
after he became pope should ideally display with the name Pope Leo
X as the commissioner.

Information about the commission of a work of art or architecture is sometimes
very important, and the context within which the work was created may
have a significant impact upon its aesthetics and final form. This subcategory
is used to record the names of all those who caused a work to be made,
even if this does not involve a "commission" in the conventional
sense of the word. The circumstances of the commission of a work often
provide insight into its meaning or significance. A patron may influence
the choice of iconography, style, size, or format for the work. Information
about the commission may reveal the original function and context of a
work.

The commissioner of a work may be well documented; for example,
the original contract may exist, or the commissioner may be
named in the inscription on the work. In other cases, the
identity of the commissioner is unknown or uncertain. Information
about the commission of a work may be well documented, or
it may be uncertain. For example, Mantegna's Adoration
of the Magi[Figure
24] was probably commissioned by the Gonzaga family, rulers
of Mantua who employed the artist as court painter during
the period from which the painting dates. Whether or not an
individual is identified as a "commissioner" may
be a matter of judgment. For example, while the name of a
particular ruler may be inscribed on a Mayan pot, this does
not necessarily mean that this ruler commissioned the work.
[10] Record
the name of the probable or possible commissioner in COMMISSIONER,
and discuss such issues as necessary in the DESCRIPTIVE NOTE.

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the
PERSON/CORPORATE BODY AUTHORITY, which can be populated from
the controlled vocabularies named below.

Published sources of vocabulary and biographical information
include the following: Canadiana_Authorities, LC Name Authorities,
and general encyclopedia and biographical dictionaries.

RELATED CATEGORIES and ACCESS

This
category is used for both indexing and display purposes.

For
ancient works and in other disciplines where the
commissioner is considered critical to the act of creation of the work,
record the commissioner in the CREATOR subcategory. Alternatively, the
commissioner may be discussed in the DESCRIPTIVE NOTE, as necessary.

Identification of the commissioner is important for researchers studying
the history of patronage. As names for an individual or group
may include variant spellings, and pseudonyms or nicknames
may change over time, the researcher should have access by
any variant name.

4.5.1. Commissioner Role

DEFINITION

The profession or occupation of the commissioner of the work,
restricted to the role that is relevant to the commission
itself. If the commissioner is a group or organization, its
major business or activity relevant to the commission.

Optional: Record the profession or occupation
that is relevant regarding the commission of the work and
the commissioner. Use terms in lower case.

Note that the full list of life roles and professions of
the person or corporate body would be recorded in the PERSON/CORPORATE
BODY AUTHORITY.

For guidelines regarding the format and syntax of terminology, see CREATOR
- ROLES and the PERSON/CORPORATE
BODY AUTHORITY.

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the GENERIC CONCEPT
AUTHORITY, which can be populated with terminology from the
Agents facet of the AAT.

4.5.2. Commission Date

DEFINITION

The date or range of dates when a work was commissioned.

EXAMPLES

1666
12 May 1970
before 1252
between 1700 and 1798
Summer 1956
around the time of the Coronation of Louis XV
3rd century BCE

DISCUSSION
and GUIDELINES

Optional: Record a year, a span of years, or a phrase that
describes the specific or approximate date associated with
the commission of the work. Include nuance and expressions
of uncertainty, as necessary.

Form and syntax
Follow rules for display dates in CREATION - CREATION DATE.

The
date of the commission may be unknown or known only as an approximate
date within a span. A work may have been commissioned in stages at different
times. The date of commission will often shed light on other characteristics
of a work of art or architecture. The date of commission may help establish
the date of a work's creation or associate a commission with a particular
event or historical situation.

TERMINOLOGY/FORMAT

Free-text: This is not a controlled field. Maintain consistent
capitalization, punctuation, and syntax where possible. Index the dates
in the controlled EARLIEST and LATEST DATE subcategories.

4.5.2.1. Earliest Date

DEFINITION

The earliest possible date when a work was commissioned.

EXAMPLES

1666
1982-11-01

DISCUSSION and GUIDELINES

Optional: Record the earliest month, day, and
year, or the earliest year alone, when the work could have
been commissioned.

Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. Record the precise day and time,
if possible. Use the following syntax: YYYY-MM-DD (year, month,
day, separated by dashes), if possible. (The standards suggest
alternate possibilities: you may use an alternative syntax
if you are consistent and it is compliant with the standards.)
It is optional to record EARLIEST DATE; however, if you record
a value here, you must also record LATEST DATE. For rules,
see CREATION DATE - EARLIEST DATE.

TERMINOLOGY/FORMAT

Controlled format: Date information must be formatted consistently to
allow retrieval. Local rules should be in place. Suggested formats are
available in the ISO Standard and W3 XML Schema Part 2.

ISO 8601:2004 Representation of dates and times. International Organization
for Standardization. Data Elements and Interchange Formats. Information
Interchange. Representation of Dates and Times. Geneva, Switzerland:
International Organization for Standardization, 2004.

XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.

4.5.2.2. Latest Date

DEFINITION

The latest possible date when a work was commissioned.

EXAMPLES

1666
1982-11-29

DISCUSSION and GUIDELINES

Optional: Record the latest month, day, and
year, or the earliest year alone, when the work could have
been commissioned.

Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. Record the precise day and time,
if possible. Use the following syntax: YYYY-MM-DD (year, month,
day, separated by dashes), if possible. (The standards suggest
alternate possibilities: you may use an alternative syntax
if you are consistent and it is compliant with the standards.)
It is optional to record LATEST DATE; however, if you record
a value here, you must also record EARLIEST DATE. For rules,
see CREATION DATE - LATEST DATE.

TERMINOLOGY/FORMAT

Controlled format: Date information must be formatted consistently to
allow retrieval. Local rules should be in place. Suggested formats are
available in the ISO Standard and W3 XML Schema Part 2.

ISO 8601:2004 Representation of dates and times. International Organization
for Standardization. Data Elements and Interchange Formats. Information
Interchange. Representation of Dates and Times. Geneva, Switzerland:
International Organization for Standardization, 2004.

Optional: Record the name of the
place of the commission. The
location of the commission may
be unknown or uncertain;
it
may be known at various levels of specificity. If
an explanation regarding the place of commission is necessary
(e.g., probably Teotihuacán, México state, Méxicoor Halicarnassus (Caria, Asia Minor) (now
Bodrum, Turkey)),
explain it in the DESCRIPTIVE NOTE and index it here in the COMMISSION
- PLACE subcategory.

Form and syntax
For guidelines regarding the syntax and format of place names,
see the CURRENT LOCATION category and the PLACE/LOCATION AUTHORITY.

TERMINOLOGY/FORMAT

Authority: Control this subcategory with the
PLACE/LOCATION AUTHORITY, which can be populated with terminology
from the TGN, NGA (NIMA) and USGS, Canadiana Authorities,
LC Name Authorities and LCSH.

4.5.4. Commission Cost

DEFINITION

The
amount paid for the creation of a work, or for the completion of a particular
part of the work.

EXAMPLES

26 scudi romani per day
100,000 US$
£140

DISCUSSION
and GUIDELINES

Optional: Record the fee or other compensation paid to
the artist or manufacturer to create a work of art.

Form and synax
Use lower case; capitalize proper nouns. Include the amount,
the currency, the type of transaction, and the type of payment,
if applicable. Since historical currencies are difficult to
convert into modern ones, it is important to record the value
as it is found in documentation; however, a conversion into
modern equivalents may also be included. Evaluations or estimations
may be expressed as a range (e.g., probably 50-55 gold
florins).

The
price paid for a work of art or architecture is important for researchers
studying patronage, the art market, and the economic status of artists.
For example, when different artists received different amounts for similar
work, this suggests their relative standing in the community and to patrons.

TERMINOLOGY/FORMAT

Free
text: This is not a controlled field. Even
though this is a free-text field, the use of consistent format and controlled
terminology is recommended for clarity. If it is
required to retrieve Object/Work records based on the price of the commission,
the cataloging instution should add subcategories with controlled format
for the unit of currency and the amount of payment.

4.6. Creation Numbers

DEFINITION

Any
numbers assigned to a work of art in the context of its creation.

EXAMPLES

00334348Ruspan Originals No. 527DARno. 1227Y

DISCUSSION
and GUIDELINES:

Optional: Record
object identifications used during creation, including numeric, alphabetical,
or alphanumeric designations. Numbers may have prefixes or suffixes that
are vital to their meaning. Include the type of number, if known.

Numbers take their meaning from the context within which
they were assigned, so noting a number's type is important.
Frequently, numbering systems reflect other organizational
patterns; for example, they may be assigned consecutively
by date or they may indicate a particular object (e.g., serial
number), or a general kind of work (e.g., model number). Where
numbers are known to carry these additional meanings, those
facts should be recorded. Works of art are numbered to make
it easier to identify them. Designs for architecture may also
be numbered or coded for identification. Numbers assigned
during creation may refer to a particular style or design,
or they may help identify the work in historical documents.
Numbers may be used as a "shorthand" to ensure that
a work is clearly referenced. Alvar Aalto's Tea Trolley
900 is slightly different from his Tea Trolley 98.[11]

TERMINOLOGY/FORMAT

Free
text: The format of the number will vary depending on its type
and source. Types of numbers or the roles numbers play may in some cases
be described with terms from a controlled vocabulary such as the Dictionarium
Museologicum.

RELATED
CATEGORIES and ACCESS

Note
that numbers signifying state and edition should be recorded in STATE
and EDITION categories. Numbers assigned by previous owners or the current
repository should be recorded in OWNERSHIP/COLLECTING HISTORY-OWNER'S
NUMBERS and CURRENT LOCATION-REPOSITORY NUMBERS.

4.6.1. Number Type

DEFINITION

The type of number assigned to a work in the context of its creation.

EXAMPLES

serial number
model number
catalog number

DISCUSSION and GUIDELINES

Optional: Record a term describing the type of number,
if known. Use lower case.

TERMINOLOGY/FORMAT

Controlled list: Control this subcategory with a controlled
list, using the terms in Examples above, and others as necessary.

4.7. Remarks

DEFINITION

Additional notes or comments pertinent to information in this category.

DISCUSSION and GUIDELINES

Optional: Record a note containing additional
information related to this category. Use consistent syntax
and format. For rules regarding writing notes, see DESCRIPTIVE
NOTE.

FORMAT/TERMINOLOGY

Free-text: This is not a controlled field.
Use consistent syntax and format.

4.8. Citations

DEFINITION

A reference to a bibliographic source, unpublished document, or individual
opinion that provides the basis for the information recorded
in this category.

DISCUSSION and GUIDELINES

Optional: Record the source used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.

TERMINOLOGY/FORMAT

Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.

4.8.1. Page

DEFINITION

Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.

DISCUSSION and GUIDELINES

Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.

FORMAT/TERMINOLOGY

Free-text: This is not a controlled field.
Use consistent syntax and format.

[8]
The Gregorian calendar is the solar dating system now in general
use. It was proclaimed in 1582 by Pope Gregory XIII as a reform
of the Julian calendar, and was adopted by most of the Western
world by the end of the 18th century. In succeeding centuries
it has become the de facto standard for data exchange worldwide.